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Anatomy of a Murder, a beloved, highly influential, seemingly liberal 1959 classic law-film seems to appropriate some of the fading western genre’s features and social functions, intertwining the professional-plot western formula with a hero-lawyer variation on the classic western hero character, America’s 19th century archetypal True Man. In so doing, Anatomy revives the western genre’s honor code, embracing it into the hero-lawyer law-film. Concurrently, it accommodates the development of cinematic imagery of the emerging, professional elite groups, offering the public the notion of the professional super-lawyer, integrating legal professionalism with natural justice. In the course of establishing its Herculean lawyer, the film constitutes its female protagonist as a potential threat, subjecting her to a cinematic judgment of her sexual character and reinforcing the honor-based notion of woman’s sexual-guilt.

Unlike Joss Whedon's cult series Buffy the Vampire Slayer (1997–2003), Angel (1999–2004) and Firefly (2002–2003), Dollhouse (2009–2010) is largely considered to be both a critical and commercial failure. Dollhouse is often dismissed as Whedon's worst television series, with critics citing their discomfort and disgust in watching hero Echo's (Eliza Dushku) repeated exploitation. Unlike other popular acclaimed TV series featuring a female action hero like Xena: Warrior Princess (1995–2001), Alias (2002–2006) and Nikita (2010–2013), the hero of Dollhouse is not empowered from the series' outset, but rather she slowly comes to her power and agency due to various traumatic and violent experiences. This chapter argues that Dollhouse stages a reworking of the cinematic female action hero figure by delaying empowerment and forcing the audience to linger in the hero's lack of agency. Dollhouse enables an unpacking of the female action hero popularised in films like Terminator 2: Judgement Day (1991), Long Kiss Goodnight (1996), The Fifth Element (1997) and the Alien franchise (1979, 1986, 1992, 1997). By exposing the mechanics of hero-creation, Dollhouse forces viewers to consider how heroes are made and who is exploited in the process. As such, this chapter considers Dollhouse as an intervention into the female action hero film and television cycle through an analysis of how the series adheres to and subverts the tropes of the cycle.

A poem written by Brandon opens space on the literacy landscape for initiating an exploration of the boys' self-positioning in their literate narratives as comedic heroes. This space on the literary landscape outlines the ways in which characters in literature can be positioned when the plot of the story suggests distribution should occur. After exploring how characters function in literature, according to Frye (1957), it is easier to see how the boys use a similar self-positioning in their narratives when literacy is the boon – intended for distribution.The Moon, The Lake, and the LoonLily pads span the shore in a curtain of green,Accented by yellow flowers with watery sheen.In the heart of the lake floats the black speckled loon—guardian and ghost beneath the silver twilight moon.A sea of pine trees shield the outer world awayfrom this inner earth unchanged day by day.The lament of the loon pierces the heart and soul;capt'ring the body and mind beyond control.Leaving haunted beauty, wishing to be back soon.In the land of the moon, the lake, and the loon.(Brandon's in-class assignment, May 2009)

The presence of mature masculinity is slowly reshaping contemporary action cinema in the twenty-first century. It is a phenomenon that rejects the unrealistic view that action heroes are embodiments of Apollo and Ares in human flesh. Instead, action heroes are viewed as flawed characters who cannot escape the realities of their corporeality, mortality and humanity. The following chapter is an examination of a particular type of action hero archetype that combines ageing with virtuous and mature masculinity. Here I use Tom Cruise's development and portrayal of Ethan Hunt in the Mission: Impossible series as a lens through which to highlight the presence of the virtuous and mature hero archetype in action cinema.

Cruise's representation of heroic masculinity is significant because it achieves three separate goals. First, Cruise's mature masculinity repudiates the hardbody model by showing its deficiencies as a male archetype. Second, it introduces a version of an action hero that emphasises the benefits of ageing and mature masculinity. Lastly, Cruise's onscreen presence redoubles the idea that heroic masculinity is motivated by a deep sense of morality, duty and a desire to serve the greater good. As the model of the mature and virtuous hero becomes more prevalent, as I argue, it not only reshapes action cinema but also produces cinematic representations of heroic masculinity that are more positive in terms of showing the importance of maturity, virtue, and public service.

A young man plucks information from digital data streams; a woman leaves digital clues about herself online – no screen, keyboard, or cable in sight. Characters found in TV series like Alphas and Heroes offer only two examples for a (fairly) new superpower that has been added to the catalogue of abilities for action heroes: that is, they have the power to manipulate digital information, and hacking into systems without using any kind of device.

This chapter analyses which visual mechanisms are used to convey these ‘new (media) superpowers’ by focusing primarily on Alphas and Heroes and considers them important predecessors for filmic examples. Such analysis will examine ideas about their transmedia extension as well as real-life developments in the field, such as specific hand movements that remind the viewer of the ‘Apple Swipe’ or social media trends. Combining theoretic approaches of cultural, television and media studies, this chapter discusses the ‘wireless’ connection between the new (super)heroes, their televised abilities, and the (online) audience, which also allows for a projection of (possible) future developments.

Most fairy tale narratives have a hero, a damsel in distress and the ever-present opposing villain. The villains, or antagonists, share several commonalities across the various narratives as well as one over-arching trait of evil. However, as television viewers have become more intuitive, and demand for more sophisticated narratives have increased, contemporary portrayals of villains, as in the television series Once Upon a Time (Horowitz & Kitsis, 2011–2018), have shifted away from presenting villains as one-dimensional and restricted characters.

Instead, the construct of evil is depicted as a multifaceted and evolutionary trait of the character. Whereas previously evil was the fundamental core of the character it is now presented as a fluid concept. This chapter investigates how the construct of evil, and therefore the villain, has been redefined through a contemporary television narrative.

Since the mid-2000s, there has been a marked resurgence in Hollywood action films featuring older male heroes, predominantly showcasing stars ranging from their mid-fifties into their seventies. This ‘geri-action’ cycle – a less-than-kind label that combines geriatric and action – has revitalised the careers of aged action stars such as Sylvester Stallone and Arnold Schwarzenegger. A core element of the cycle, beyond action franchise revivals and all-star ensembles featuring stars from the 1980s and 1990s, has been the emergence of late-career action turns by ageing Hollywood actors in globally successful French-produced, Hollywood-style action films. Part of a larger trend in French cinema towards the production of films in a distinctly commercial register, the ‘globalised’ aesthetic of French action film cannily mimics Hollywood action film style and aesthetics. These French-produced geri-action films are the roots of the cycle, represent some of its biggest box office successes and have transformed the career of several acclaimed recent-to-action Hollywood stars, exemplified by the prolific late action career of Oscar-nominated actor, Liam Neeson, most notably across three Taken films (2008–2014, EuropaCorp). Despite this, these French-produced geri-action films have predominantly been examined as a Hollywood and American phenomenon.

Geri-action quickly became synonymous with 1980s Hollywood action cinema's white male ‘hard bodies’, who are still widely understood to diagnose national anxieties and social ills – and violently embody their so-called “cures”. These French geri-action films similarly feature protagonists who forcefully struggle against perceived threats to the cultural position of traditional (white) masculinities and professional and paternal redundancy. Yet they also showcase deep-seated European anxieties about the threat of porous borders, immigration and social change, presaging a later shift in the cycle in Hollywood. Focusing on films that have received comparatively less scholarly attention, Taken 2 (2012), 3 Days to Kill (2014) and The Commuter (2018), this chapter examines the productive confluence of lower budget French-produced geri-action films and their ageing recent-to-action stars. These films depend on their stars to fortify their globalised Hollywood aesthetic and the stars' personae permit efficiencies such as clipped pacing. At the same time, budget constraints enhance the action performance of recent-to-action stars as unadorned, visceral and authentic-feeling. The films often stage fight sequences in confined, everyday spaces of work and tourism with ageing heroes who must creatively ‘make do’ with objects available to them. Equally, stunt coordination and choreography, editing and sound design make ageing and less experienced action performers appear to move faster and hit harder. Taken together, French-produced geri-action and its recent-to-action stars have transformed not only who stars in ‘Hollywood’ action cinema but who produces it.

In this chapter, we examine how the concept of heroism was defined and used during the Covid pandemic in 2020, particularly in connection with the nursing profession. We begin with a sociological examination of heroism and courage. Using textual data from US newspapers, we then compare current constructions of nurses as heroes with views of them during the Spanish flu pandemic of 1918. The analysis will show that during the earlier pandemic nurses were seen as essential health workers who were in great demand, but there was little reference to them being heroic. However, with Covid, nurses were often presented in the media as heroes. This was largely done by transposing the ‘emotion codes’ (Loseke, 2009) of warfare on the Covid crisis. Emotion codes like ‘fighting the enemy at home’, ‘sacrifice’, ‘bravery’ and ‘service to the country’ were used rhetorically to construct the administration of medical care in the context of a pandemic as inherently courageous and heroic. We end by arguing that the expansion of the concepts of heroism and courage, especially in the context of a profession dominated by women, offers new possibilities for a less masculine orientation toward courage and heroism.